See when and where CAA members are exhibiting their art, and view images of their work.
Solo Exhibitions by Artist Members is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
Lea Kannar-Lichtenberger. Accelerator Gallery, Pyrmont, New South Wales, Australia, May 27–June 10, 2017. Deception.
Diane Burko. Joy Pratt Markham Gallery, Walton Arts Center, Fayetteville, Arkansas, May 4–September 30, 2017. Glacial Shifts, Changing Perspectives: Bearing Witness to Climate Change. Painting and photography.
Rachel Epp Buller. Galeria Zapatista at Mission Grafica, San Francisco, California, May 12–June 16, 2017. A Hidden Garden. Monotype prints.
Ken Gonzales-Day. Luis De Jesus Los Angeles, Los Angeles, California, September 9–October 28, 2017. Bone-Grass Boy: The Secret Banks of the Conejos River. Photographic project.
In July CAA announced a restructuring of the organization and the departure of several staff members who took advantage of a buyout program. As part of the restructure we find ourselves with the opportunity to hire new staff at CAA. Below are six positions we are hiring for immediately. Please feel free to share these postings with colleagues and friends who might be a good fit. Click on the linked title of the position to learn more about the role and for application submission details.
Dear CAA members,
CAA exists to serve its members and the wider community of arts and culture professionals. Many of our members are facing challenging fiscal dynamics in their own institutions. They have seen opportunities to attend professional conferences and discretionary departmental budgets decrease. Even more concerning is the lack of new professional opportunities for those entering the field as the number of full time and tenured positions continues to decline.
We know how integral our staff is to serving our 9,000 individual and 600 institutional members. Recently, we took a closer look at our staffing at CAA in relation to changes in the higher education landscape, the visual arts field, and the ecosystem of associations. We discovered that in order to move forward as an organization CAA had to reduce its organizational footprint. Coming to this realization was difficult but we also knew we did not want to simply cut staff.
With this reality in mind, last spring we worked to reduce the size of the CAA staff. Based on my recommendation, the Board of Directors adopted a 2018 budget that matched realistic revenue projections against actual expenses. We offered an Employee Exit Incentive Plan, a plan of choice, to all staff. Several people took the plan. We are saddened to see staff at CAA leave. Some have served the organization for many years and contributed to much of what makes CAA tick. But we also know they are headed for new adventures professionally and personally, and we are proud to offer them support and security as they embark.
The departures at CAA gave us a rare opportunity to restructure the organization, to look at every department and assess its work and goals. It also gave us the chance to hire for a few new mission-driven positions. Programming is important to CAA and its members, and as part of the new structure we expanded programs and placed publications, one of our flagship programs, in that department. The publications department will not change fundamentally and will continue to produce exemplar issues of Art Journal and The Art Bulletin, as well as outstanding digital content in Art Journal Open and caa.reviews. Tiffany Dugan has been named the director of programs and publications to lead the new department. Communications and marketing will also grow as a department as it joins forces with membership services, a pairing that will bring more clarity to how we communicate with our members and how we will look to build our membership in the coming years. The newly formed communications, marketing, and membership department will be led by Nick Obourn. Lastly, our finance department will take the IT department under its wing, forming what will be the center of operations for CAA. Teresa Lopez will lead that department.
We know this is a lot to digest, but we felt it necessary to explain things in full. Restructuring CAA was difficult for us as an organization, but it was a decision we had to make to gain stability and ensure that we exist to serve our members and professionals in the visual arts for another 106 years. These changes will not result in any reduction of services or support to our members and the visual arts field at large.
In the coming weeks we will also announce exciting new offerings for our members at CAA. Stay tuned!
We look forward to seeing you in Los Angeles, February 21–24, 2018 for the 106th Annual Conference.
Please reach out to us at 212-691-1051 or firstname.lastname@example.org if you have any questions at all.
posted by CAA — July 14, 2017
On Wednesday the U.S. House Appropriations Subcommittee on the Interior, Environment, and Related Agencies approved a bill that would provide funding of $145 million each for the National Endowment for the Arts and the National Endowment for the Humanities in FY2018.
For many of us, this provides a respite of relief as it is a stark contrast to President Trump’s prior call to zero out the agency.
Although the $145 million figure is a $4.8 million drop from the FY2017 budget, this is a reassuring step by Congress in recognizing the value of the arts in America and the need for a strong public arts agency.
While the subcommittee’s proposal brings us hope, our work is not done. In fact, we at CAA will continue to step up our efforts to educate, communicate, and of course, advocate for the artists, art historians, critics, curators, designers, scholars, librarians, educators, students, conservators, and many other professionals in the visual arts world who make up our membership and affiliates.
UPDATE: On July 18, the full House Appropriations Committee approved the bill in its current state. These earmarked funds may be voted on by the full House of Representatives after the summer recess. The Senate will consider funds for the endowments later in the year also.
We encourage you to regularly check out our advocacy page to learn more about CAA’s stance on the issues and how you can join us in mobilizing and championing the field of arts and culture in our country.
posted by CAA — July 05, 2017
CAA Announces the opening of its Professional-Development Fellowship for 2017. The program supports promising artists, designers, craftspeople, historians, curators, and critics who are enrolled in MFA, PhD, and other terminal-degree programs nationwide.
Fellows are honored with $10,000 grants to support their work, whether it be for job-search expenses or purchasing materials for the studio.
One award will be presented to a practitioner—an artist, designer, and/or craftsperson—and one award will be presented to an art, architecture, and/or design historian, curator, or critic. Fellows also receive a free one-year CAA membership and complimentary registration to the 2018 Annual Conference in Los Angeles, February 21-24. Honorable mentions, given at the discretion of the jury, also earn a free one-year CAA membership and complimentary conference registration.
CAA initiated its fellowship program in 1993 to help student artists and art historians bridge the gap between their graduate studies and professional careers.
CAA is proud to launch CAA Conversations, our newest initiative for fostering academic discussions about art and its purpose through conversations with diverse scholars and practitioners from our community. Every month, executive director Hunter O’Hanian will interview a notable scholar or artist who is making or has made progressive change in his or her field, with the goal to not only learn more about their craft, but to understand the artist or scholar behind it.
Our first interview in this series is with renowned feminist art historian Linda Nochlin, a long time CAA member and author of the pioneering essay “Why Have There Been No Great Women Artists?” We caught up with Linda at her home on the Upper West Side, where art and inspiring works lined every wall of her apartment. Read the full conversation below (or click the video!) to hear Linda recount the early beginnings of her career, her thoughts on feminism then and now, her advice to young scholars, and a sneak preview of her upcoming book, Misère.
|Hunter O’Hanian:||Hello, my name is Hunter O’Hanian, and I’m the Director of the College Art Association. I’m here today with Linda Nochlin. Hello Linda.|
|Hunter O’Hanian:||How are you?|
|Linda Nochlin:||I’m okay.|
|Hunter O’Hanian:||You’ve been a member of CAA for a long time. It’s great to have this opportunity to chat with you. Let’s talk a little bit about your background. I know you grew up here in New York, in Brooklyn. You earned degrees from Vassar, Colombia, and NYU. You taught at Colombia, Vassar, Yale. You’ve won many awards from CAA. Most recently you won the 2006 Distinguished Lifetime Achievement Award for writing in art. I know you’ve won a Guggenheim Fellowship. I know you’re a fellow at the American Academy of Arts and Sciences. You’ve got an honorary doctorate from Harvard. A lot of it’s really been about what you’ve been doing as far as thinking about, writing about, teaching about art. What brought you to art?|
|Linda Nochlin:||I was always interested. When I was a little kid, I liked to paint and draw. I was very much encouraged to paint and draw both by mother and by my school. Being in New York, I had all these museums. There were a lot of other people who were interested in art that were around me, that were my friends. It seemed sort of natural to go to museums. I enrolled myself when I was 12 in the class for talented children at the Brooklyn Museum. A very interesting place.|
|Hunter O’Hanian:||You enrolled yourself you said?|
|Linda Nochlin:||I went with a portfolio and they said, “Come on.”|
|Linda Nochlin:||I was always interested in art, music, dance. I loved to dance. The arts.|
|Hunter O’Hanian:||Apart from your writing, have you been drawing and making work through your adult life as well?|
|Linda Nochlin:||No, I quit.|
|Hunter O’Hanian:||How come you quit?|
|Linda Nochlin:||Well, I don’t know. I just got interested in writing about it rather than making it.|
|Hunter O’Hanian:||You have a very long history of publishing. There’s certainly a lot of work that you’ve done with Realism and Courbet. What attracted you to that particular period and that particular genre?|
|Linda Nochlin:||Probably it was political I think. It was during the McCarthy period that I came to maturity. I went to the Institute. I really wanted to work on something that was anti-McCarthy. That was left. I was a person of the left and Courbet was the ideal subject in that.|
|Hunter O’Hanian:||Tell me about what you remember of the McCarthy era and what was going on at the time and how artists and writers were dealt with.|
|Linda Nochlin:||It really was a very oppressive period for people in intellectual and artistic pursuits. Even if they didn’t come and get you, that was always a threat lying over. I remember I began my Frick talk with a long quotation from Karl Marx. People were dumbfounded. I remember my teacher said, “Linda, you’re so brazen.” It was scary times.|
|Hunter O’Hanian:||Watching the news today, do you see any similarities?|
|Linda Nochlin:||No. I think it’s a different thing now. It’s scary in a different way, but you can say what you want. Unless you’re in government. I think it is a different take. It’s not good and it’s not pleasant, but I think it’s different.|
|Hunter O’Hanian:||I noticed…. I’ve read that you said you were introduced to feminism in the late 1960s. You were probably in your 30s at that time. You wrote that you became a feminist virtually overnight. Tell me about that.|
|Linda Nochlin:||I had been in Italy in ‘68, ‘69. I came home and a friend came with all these publications and said, “Do you know about feminism”? It was called the women’s movement. I said, “No.” She said, “Read this.” She left me Off Our Backs and rather the somewhat crude broadsheets of the early feminist movement. I stayed up all night reading and I was a feminist the next day. Certainly I always had been to some degree, but I could see now I could become formally as part of an organization, as part of a movement. Yes, I was a feminist.|
|Hunter O’Hanian:||Do you see the movement alive today?|
|Linda Nochlin:||Mm-hmm [affirmative] yes. But, of course, a lot of people I know happen to be feminists. I don’t know how alive it is otherwise. I think it still is.|
|Hunter O’Hanian:||It’s interesting. I meet a lot of male feminists, too, which back in the beginning of the movement….|
|Linda Nochlin:||It would be unheard of.|
|Hunter O’Hanian:||It would be unheard of for a man to say he was a feminist. Now there’s many of us who are actually happy to say that.|
|Linda Nochlin:||You think of the Women’s March after the inauguration this year. It was enormous. Enormous. Not every one of those people might be a self-pronounced feminist, but they’re all feminists in the sense that they gathered together to show that they believed in something and were against other things.|
|Hunter O’Hanian:||Of course there’s the essay “Why Have There Been No Great Women Artists?” that you wrote in 1971. I think ARTnews published that?|
|Hunter O’Hanian:||First of all, tell me about the title. How did you end up with that title? Why have there been no great women artists?|
|Linda Nochlin:||I was at a Vassar graduation the year before and I think … I can’t remember who it was. He had a gallery. He was a well known gallerist. He said, “Linda, I would love to show women in my gallery, but why are there no great women artists?” I started really thinking about it and one thought followed another. It almost wrote itself. It seemed all so hitched together, so logical.|
|Hunter O’Hanian:||You address the question in the beginning of the essay about how many great artists there are regardless of their gender, the fact of what actually makes a great artist. Talk a little bit about that.|
|Linda Nochlin:||I refuse to say it’s something inborn, a golden nugget I would say, but artistic greatness, artistic production depends so much on time, place, situation, etc. It was no accident that up through the Renaissance, even the 18th century that artists came in families. Father artists, mother artists. You think of the Bach, Johann Sebastian Bach family, family practice.|
|Hunter O’Hanian:||You write in here “The problem lies not so much with some feminist concept of what femininity is, but rather with their misconception shared with the public at large of what art is with the naïve idea that art is the direct personally expression of individual, emotional experience, a translation of personal life into visual terms. Art is almost never that. Great art never is.”|
|Linda Nochlin:||Well that says what I mean. It always takes place within a context, within a setting, certain training, certain standards. What might be considered great art in one period might not be in others. It’s interesting. There’s a certain agreement in the Renaissance. They knew it was Raphael Michelangelo, etc., very little question.|
|Hunter O’Hanian:||You also write here, “the fact of the matter is that there have been no supremely great women artists as far as we know.” I’m happy you added that in, “as far as we know,” although there have been many interesting and very good ones who remain insufficiently investigated or appreciated.|
|Linda Nochlin:||I think that’s been corrected to a certain extent today.|
|Hunter O’Hanian:||Tell me about the ones who have been discovered or investigated.|
|Linda Nochlin:||I suppose Artemisia Gentileschi would be a primary one. Who else?|
|Hunter O’Hanian:||What about women artists in the latter part of the 20th century or beginning part of the 21st century?|
|Linda Nochlin:||I think women artists have definitely caught up as leaders, as being the interesting ones making art and so on. I’m thinking of somebody like Joan Jonas, for example. I’m thinking of somebody like Louise Bourgeois.|
|Hunter O’Hanian:||I was just going to ask you about Louise.|
|Hunter O’Hanian:||Judy Pfaff|
|Linda Nochlin:||The list itself is so long. I’m not saying they’re all Michelangelo, but I’m personally not a Michelangelo person. They’re really interesting and dynamic and have changed the way we look at art, which I think is important.|
|Hunter O’Hanian:||I guess it’s in part because society has allowed them to some degree to be able to do that.|
|Linda Nochlin:||Yes, of course. They had to fight for it, too.|
|Hunter O’Hanian:||Of course. One last quote that I thought was interesting. There’s so much of this essay. I hadn’t read it for years. It’s just so dense. It so wonderful.|
|Linda Nochlin:||It is. I tried to squeeze a lot in.|
|Hunter O’Hanian:||You say “most men despite lip service to equality are reluctant to give up the natural order of things in which their advantages are so great. For women, the case is further complicated by the fact that unlike other oppressed groups or castes, men demand of them not only submission, but unqualified affection as well.”|
|Linda Nochlin:||It’s sort of hard. Say in terms of color, nobody demands that black people love and adore and cater to white people. It’s only gender that does that. It’s very confusing if on the one hand there is somebody you love, live with, etc., yet who is part of a group or caste that is really denying you equality and denying you self-expression. It’s confusing to put it mildly.|
|Hunter O’Hanian:||As we said, we have made progress….|
|Linda Nochlin:||I think so.|
|Hunter O’Hanian:||But how much progress to do you think that we’ve made? How tough do you think it is for a young woman, 30 years old, starting out today?|
|Linda Nochlin:||I think it’s undeniably better. The conditions are better for a woman succeeding, and a lot of the major artists now certainly are women, but there’s still a boys’ club feeling about certain types of art and certain types of artists. I think you know equality has gone so far and no further maybe.|
|Hunter O’Hanian:||It’s interesting when you think about it in the sense that we think women have had the right to vote for 100 years, but still they don’t get paid the same wage. It’s been 135 years since the Emancipation Proclamation has been signed.|
|Linda Nochlin:||No, it isn’t just done by words or by the progress of a few superstars either.|
|Hunter O’Hanian:||Switching gears, but also on this one a little bit, obviously you’ve been involved in the academy and artistry for many, many years. What is your sense about the future for people graduating out of a master’s programs or PhD programs and getting jobs in higher education today? What do you think about that?|
|Linda Nochlin:||I think it’s a difficult market as far as I can see. Although there are now galleries and museums throughout the country. It’s not just a question of the east coast and the west coast and Chicago. I think there is a sort of spreading, or a spread of art which allows for some jobs, but being an artist is tough no matter how you take it. I think it’s getting ahead, finding a gallery, getting a proper amount of publicity, making sure you show. It’s hard.|
|Hunter O’Hanian:||What about for scholars, for those getting their PhD about being able to move their careers along? What advice would you have for them?|
|Linda Nochlin:||What advice would I have for them? Be very, very smart. Write a lot. Have strong opinions. Just don’t be a little library worm.|
|Hunter O’Hanian:||It seems your strong opinions have done you well for your career.|
|Linda Nochlin:||I wouldn’t know how to not have them if you know what I mean. That’s what I’m about is my opinions. You have to know something. Frankly I know a great deal. There are very good…. I was a very good student, very good. I worked very hard. I really took pains and energy with my research, not just opinions. They have to be based on something.|
|Hunter O’Hanian:||Can you think of an opinion that you had out there in some of your writing that you looked at it years later and thought, “I wouldn’t have come to the same conclusion?”|
|Linda Nochlin:||I’m sure there are.|
|Hunter O’Hanian:||It’s so interesting how we develop those opinions based upon what we believe at a given time.|
|Linda Nochlin:||Oddly enough I’ve remained more or less consistent. I’ve added some artists in, subtracted some, but the ones that I like are still the ones that I’m interested in. At least many of the issues that I was committed to, I’m still committed to.|
|Hunter O’Hanian:||What are you working on now?|
|Linda Nochlin:||I’ve just finished a large book called Misère about the representation about misery in the second half of the 19th century in France and England.|
|Linda Nochlin:||That’s at the publisher right now.|
|Hunter O’Hanian:||When should we expect to see it?|
|Linda Nochlin:||In the fall I should think. Thames & Hudson as usual.*
*Update: Misère is slated for release after Spring 2018.
|Hunter O’Hanian:||Are you excited about it?|
|Linda Nochlin:||Yeah, I am. I laughingly said to my editor, “Are you going to be able to sell a book called Misère?” He said, “Misère by Linda Nochlin, yes.” It was fascinating, really interesting. It pulls together a lot of things I’ve been interested in all along. It’s both new territory, but based on elements that I’ve been interested in for a long time.|
|Hunter O’Hanian:||Any nuggets that you want to give away from that that come to mind?|
|Linda Nochlin:||Let me think. There’s been relatively little in investigation of the representation of the poor and oppressed. Middle class Impressionism, etc., upper class before that, religious high-minded themes, battles, just the everyday lives of the poor and “uninteresting,” so to speak, not much setting.|
|Hunter O’Hanian:||It’s interesting because that seems like a very timely topic for us.|
|Linda Nochlin:||Exactly I thought of that too.|
|Hunter O’Hanian:||As we think of how elections change and how government change and how the education system changes about access, I think it seems.…|
|Linda Nochlin:||Absolutely. It was certainly true in the 19th century, early 20th. I think it’s an interesting book. I hope other people find it interesting.|
|Hunter O’Hanian:||I look forward to seeing it. Thank you so much for allowing us here in your home. It was great to chat with you about these things.|
|Hunter O’Hanian:||I look forward to seeing you at another CAA event soon I hope.|
|Linda Nochlin:||I hope so.|
|Hunter O’Hanian:||Thank you.|
|Linda Nochlin:||I would love to. Thank you.|
posted by CAA — June 05, 2017
The Getty Foundation has awarded the College Art Association (CAA) a grant to fund the CAA-Getty International Program for a seventh consecutive year. The Foundation’s support will enable CAA to bring twenty international visual-arts professionals to the 106th Annual Conference, taking place February 21-24, 2018 in Los Angeles, CA. Fifteen individuals will be first-time participants in the program and five will be alumni, returning to present papers during the conference. The CAA-Getty International Program provides funds for travel expenses, hotel accommodations, per diems, conference registrations, and one-year CAA memberships to art historians, artists who teach art history, and museum curators. The program will include a one-day preconference colloquium on international issues in art history on February 20, this year to be held at the Getty Center.
The deadline for applications is August 21, 2017. Guidelines and application.
The CAA-Getty International Program was established to increase international participation in CAA and the CAA Annual Conference. The program fosters collaborations between North American art historians, artists, and curators and their international colleagues and introduces visual arts professionals to the unique environments and contexts of practices in different countries.
Since the CAA-Getty International Program’s inception in 2012, ninety scholars have participated in CAA’s Annual Conference. Historically, the majority of international registrants at the conference have come from North America, the United Kingdom, and Western European countries. The CAA-Getty International Program has greatly diversified attendance, adding scholars from Central and Eastern Europe, Russia, Africa, Asia, Southeast Asia, Caribbean countries, and South America. The majority of the participants teach art history (or visual studies, art theory, or architectural history) at the university level; others are museum curators or researchers.
Earlier this year, CAA organized a reunion to celebrate five successful years of the CAA-Getty International Program. Twenty alumni were selected to present papers at the Annual Conference in New York, held February 15-18, 2017. Organized into four sessions about international topics in art history, these Global Conversations were chaired by distinguished scholars from the United States and featured presentations by the CAA-Getty alumni.
One measure of the program’s success is the remarkable number of international collaborations that have ensued, including an ongoing study of similarities and differences in the history of art among Eastern European countries and South Africa, attendance at other international conferences, publications in international journals, and participation in panels and sessions at subsequent CAA Annual Conferences. Former grant recipients have become ambassadors of CAA in their countries, sharing knowledge gained at the Annual Conference with their colleagues at home. The value of attending a CAA Annual Conference as a participant in the CAA-Getty International Program was succinctly summarized by alumnus Nazar Kozak, Senior Researcher, Department of Art Studies, National Academy of Sciences of Ukraine “To put it simply, I understood that I can become part of a global scholarly community. I felt like I belong here.”
The College Art Association is the world’s largest professional association for artists, art historians, designers, arts professionals, and arts organizations. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, website, and other programs, services, and events. CAA focuses on a wide range of advocacy issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching.
About the Getty Foundation
The Getty Foundation fulfills the philanthropic mission of the Getty Trust by supporting individuals and institutions committed to advancing the greater understanding and preservation of the visual arts in Los Angeles and throughout the world. Through strategic grant initiatives, it strengthens art history as a global discipline, promotes the interdisciplinary practice of conservation, increases access to museum and archival collections, and develops current and future leaders in the visual arts. It carries out its work in collaboration with the other Getty Programs to ensure that they individually and collectively achieve maximum effect.
posted by CAA — May 15, 2017
CAA welcomes applications and letters of intent for the 2018 Terra Foundation for American Art International Publication Grant and the 2017 Wyeth Foundation for American Art Publication Grant.
The Terra Foundation grant provides financial support for the publication of book-length scholarly manuscripts in the history of American art circa 1500–1980. The grant considers submissions covering what is the current-day geographic United States.
The deadline for letters of intent is September 15, 2017.
Awards of up to $15,000 will be made in three distinct categories:
- Grants to US publishers for manuscripts considering American art in an international context
- Grants to non-US publishers for manuscripts on topics in American art
- Grants for the translation of books on topics in American art to or from English.
The Wyeth Foundation for American Art Publication Grant supports the publication of books on American art through the Wyeth Foundation for American Art Publication Grant, administered by CAA.
The deadline for submissions is September 15, 2017.
For this grant program, “American art” is defined as art created in the United States, Canada, and Mexico. Eligible for the grant are book-length scholarly manuscripts in the history of American art, visual studies, and related subjects that have been accepted by a publisher on their merits but cannot be published in the most desirable form without a subsidy. The deadline for the receipt of applications is September 15 of each year.
Director of Programs Tiffany Dugan and I just returned from a week in Los Angeles to make plans for CAA’s Annual Conference in 2018.
Scheduled for February 21-24 at the LA Convention Center, the 106th CAA Annual Conference promises to be one of the strongest ever. When the online session submissions portal closed last week, we had more than 800 submissions – one of the largest numbers in recent years. The Annual Conference Committee is reviewing the submissions this month and will be making final selections.
Based on past conference attendance, we anticipate more than 4,000 conference attendees in Los Angeles. We expect to schedule more than 250 sessions and over 200 events, including meetings, receptions, and tours. To house everyone, we secured three principal hotels, all within walking distance of the Convention Center, guaranteeing 6,000 guest nights.
We visited with the staffs and toured the Westin Bonaventure, Millennium Biltmore LA, and JW Marriott. Hotel rooms for the conference will range from $139 to $269 a night, depending on which hotel you select and the type of room you want. The John Portman designed Westin Bonaventure will be our host hotel and has the cool elegance reflecting the beginning of LA’s downtown revival in the mid-1970s. The Biltmore, which opened in 1923, reflects the opulence and beaux-arts style from LA’s golden age as the film industry was in its burgeoning stage. The new, swank JW Marriot is closest to the Convention Center and at the door of all the urban excitement of L.A. Live. All three hotels are within walking distance of the Convention Center. And the Westin even has a good cup of coffee below $2 in the lobby!
Near the hotels, we found lots of great restaurants – everything from a hearty breakfast at the Original Pantry Café (which is open 24 hours) to the Blue Cow Kitchen & Bar, Bunker Hill Bar & Grill, Bottega Louie, Eat.Drink.Americano, and Water Grill. Food trucks are on virtually every corner (you have to try the sushi burrito). And there are plenty of artisanal coffee shops as well. In the coming months we will be working on setting up discounts at local restaurants and businesses for our attendees. Our hosts at the LA Convention Center gave us a great tour and we were able to see where the registration area, book and trade fair, and sessions rooms will be. We were able to secure more creature comforts like additional seating between sessions for impromptu conversations, charging stations for phone and laptops, and a quiet room to decompress from the hustle and bustle of the conference.
The Getty Museum, LACMA, and MOCA all opened their doors to us and we had great meetings. Each institution is looking forward to CAA 2018 and is making plans to ensure that your visit is meaningful. We met with leaders at UCLA and USC. In upcoming trips, we will be meeting with leaders at the Norton Simon Museum, The Huntington Library, Hammer Museum, Fisher Museum, and The Broad, as well as Otis College of Art and Design, Pasadena City College, Santa Monica College, and many others.
We also toured other cultural organizations including REDCAT, The Brewery Artist Lofts, Japanese American Museum, Chinese American Museum, 18th Street Arts Center, A+D Architecture and Design Museum, Craft and Folk Art Museum and many others. They are looking forward to welcoming CAA members to visit during the conference. We are planning on a day of programing for local LA area artists at the Annual Conference similar to what we did in NYC this year.
Colleges and universities interested in holding reunions and receptions at the Annual Conference will also be able to find great spaces for their events. While there are some beautiful rooms available at the CAA hotels, we saw great spaces at the Hilton Checkers (check out the roof top terrace), the LA Public Library (check out the rotunda and courtyards), the gallery district in Chinatown (check out the Charlie James Gallery and A.G. Geiger Fine Art Books), and Hauser & Wirth. There are plenty of galleries in Hollywood and the Arts District, which will be available as well. We will keep adding to this list to create alternative reception options. Since the weather will be mild, there will be plenty of opportunities to sneak away from the Conference Center and check out what LA has to offer.
If you have not been to LA in a while, you will be happy to discover that getting around is easier than ever. While your CAA membership can get you a discount on an Avis rental car, ride sharing programs such as Uber and Lyft are popular and often cost less than $5 per trip between key cultural locations. LA has also been making great progress on its public transportation system as Metro stations are popping up everywhere.
Many thanks to Annual Conference Chair Judith Rodenbeck and CAA Regional Reps John Tain and Neha Choksi, who, along with Anu Vikram and Niku Kashef, made lots of great recommendations. If you have any more ideas of places you would like to see, just let Tiffany or me know.
Finally, we’ve pulled together all the details for the Getty sponsored Pacific Standard Time and will be offering that information in the months to come. You may want to arrive earlier to make sure that you take in as much as you can. President’s Day weekend is just before the Annual Conference. Be sure to watch CAA News for more updates about the conference as we solidify our planning.
On March 29, the National Endowment for the Humanities (NEH) announced funding for 208 humanities projects totaling $21.7 million. These grants include programs that support international collaboration, engage students in interdisciplinary courses, and help veterans.
Among the recipients are the following CAA members, all of whom received a $6,000 Summer Stipend to work on their various research projects:
- Marie-Stéphanie Delamaire of the Winterthur Museum, Garden, and Library in Winterthur, Delaware, for “Diderot and d’Alembert’s Encyclopedia and the Color Printing Revolution: A Translation and Critical Study”
- Jennifer Germann of Ithaca College in Ithaca, New York, for “A Study of the Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray, an 18th-century British Artwork”
- Laura Morowitz of Wagner College in Staten Island, New York, for “Art Exhibitions in Vienna, Austria, during the Nazi Occupation”
- Allie Terry-Fritsch from Bowling Green State University in Bowling Green, Ohio, for “Cosimo de’Medici, Fra Angelico, and the Public Library of San Marco”
- Anne Verplanck of Pennsylvania State University in Harrisburg for “The Business of Art: Transforming the Graphic Arts in an Age of Mechanical Reproduction”
These awards come just weeks after President Donald J. Trump’s administration released a budget proposal calling for the elimination of the NEH, the National Endowment for the Arts, the Department of Education’s international education programs, the Institute for Museums and Library Services, and the Woodrow Wilson International Center for Scholars.
Our attention now turns to Congress, which can fund these programs despite the administration’s proposals. We have been heartened that these programs—which have been supported by presidents of both parties—have seen growing support in Congress in recent years. Indeed, over the past two years, the Republican-controlled Congresses have supported increases for the NEH.